2013年3月6日 星期三

編輯室報告(第3期)


編輯室報告(第3期)

復刊後《台灣文學研究》學報第三期終於順利出版了,要謝謝作者、審稿人及實際負責編務的芳庭的辛勞,有你們的付出,這本學報才能逐漸步上正常發刊的軌道。
本期共收六篇論文,由時代的先後順序來看:有研究熱度逐漸消退的日治時代的論文一篇,〈僻徑的身影:1925年前後的黃呈聰〉一文主要探討被定位為待機派的黃呈聰,於1925年後改信中國真耶穌教會,並將這番改宗視為自己從事民族運動的一環,將民族主義內化於宗教信仰之中的思考與歷程。黃凡一般被公認是對政治抱以絕對懷疑論的台灣後現代小說重要先鋒,回到七○年代黃凡早期作品的〈冷戰下的中國想像與反共意識型態:以黃凡〈青州車站〉、《零》為例〉一文,則挑戰了這種定見,指出在黃凡寫作充滿懷疑論式政治小說的同時,及跨入所謂後現代小說之前,也曾在世界的冷戰格局與國民黨的反共論述框架之下,寫出隱隱呼應官方冷戰╱反共意識形態的文學作品。時序進入八○年代,〈女人作為一種隱喻:黨外雜誌中政治性別化的民主隱喻〉一文,則以參與黨外運動的女性在黨外雜誌中如何被再現為分析對象,探討了戰士、受難兩種類型的女性形象的性別政治意義。這些史論性的論文,切入問題的視角儘管不同,但都對台灣文學史歷史細節的釐清,做出了一定的貢獻。

〈感官地圖,肉身廢墟:讀鍾文音《愛別離》、《慈悲情人》中的身體感知敘事〉及〈《古國琴人》之回歸主題:以榮格「原型」理論為分析框架〉兩篇論文都是處理當代女作家的作品,不過一以當代熱門的視角「身體」切入,一則復古地選擇榮格的「原型」進行分析,理論視角並無新舊之分,只有適不適用的問題,兩篇論文至少都通過了審查者的檢驗,相信都是精彩的論文。〈台灣歌仔戲中程式語言的作用:以歌仔戲「活戲」劇目為例〉一文則跳脫菁英作家、書齋的視野,來到野台,在「活戲」演出的現場,歸納、分析台灣歌仔戲的程式語言的模式與作用,相較於前兩篇論文對理論的引經據典,本文根據舞台演出所進行的分析,可謂別開生面。
以量而言,本期收集到的論文並不算多,雖然質方面不錯,通過了六篇論文,勉強應付了本期的出刊,不過這終究不是好現象,來稿量之少,與台灣文學系所的師生總量極不相稱,這可以說是台灣文學研究發展的一種警訊嗎?研究、寫作論文的動力為什麼逐漸流失了?值得各方傷腦筋想想。(游勝冠)

編輯室報告(第2期)


編輯室報告(第2期)

《台灣文學研究》為成大台文系學術刊物,第一期於2007年4月出版之後,第二期也緊鑼密鼓接著展開籌畫,徵有不少稿件,也有少數幾篇論文當時已通過審查。然後來因種種原因暫時停刊。相隔的五年期間,台灣文學在蓬勃發展中不斷壯大,台灣內部的台灣文學研究刊物,由之前僅有政大台文所《台灣文學學報》與台灣文學館《台灣文學研究學報》兩份刊物出版發行的草創面貌,迅速擴展至台大、師大、北教大都有台灣文學研究相關期刊的推出。如此壯大發展的狀況自然也如任何迅速發展的領域一樣,必然遭遇許多新的挑戰與衝擊。
在上世紀九○年代本土化過程中,人文社會學科陸續有台灣文學、台灣語文、性別、族群、客家⋯⋯等新興系所成立,欣欣向榮發展的同時,也面臨台灣急遽的政經結構變化、少子化、高等教育環境惡化,及全球化勢力席捲等問題與挑戰。近十年這些新興系所不論在系所招
生、課程內容架構、實際行政運作及學術競爭力等都有許多值得探討與關注的地方。因應不斷變化的局勢,這些不同新興系所可能面臨著不同的問題,但本質上,部份潛在性的危機應該是類似的。
本期復刊號因此除一般論文外,並以「新興人文社會學科的建制化與發展」為論壇專號,邀集幾個代表性的新興系所,就該系所建制化與發展的問題與未來展望提供看法,希望能刺激更多的省思與討論。他山之石可以攻錯,本刊也向香港嶺南大學文化研究系邀稿,相信文化研究在香港學院間的發展過程,可以提供我們參考及借鏡,更希望藉此而有跨地域跨領域的對話。
感謝為論壇供稿的陳萬益、邱貴芬、成令方、吳中杰、羅永生等幾位教授的寶貴意見。各領域都提出了自己所見所聞的現有成果與未來值得憂慮之處,部份也有較明確的對未來展望的建議。這只是一個拋磚引玉的嘗試,我們期待能在其中思考激盪出一些可能,即使目前處境愈來愈艱難,續航便是一種生命力的展現。
本刊也要對因停刊被延誤的原已通過審查之論文作者陳麗芬與申惠豐致上最深歉意,同時為與原進行中的第二期有所延續承繼,原第二期投稿數併入本期復刊號計算,在此一併說明。未來我們會朝向優良期刊的目標而努力,繼續秉持嚴謹的態度,深耕開拓台灣文學的土壤園地與學術版圖。(廖淑芳)

《古國琴人》之回歸主題:以榮格「原型」理論為分析框架

《古國琴人》之回歸主題:以榮格「原型」理論為分析框架
The Return Subject in An Ancient Musician: Based on Jung’s Archetype Theory

陳秀玲
Chen, Hsiu-ling

摘要

《古國琴人》是張瀛太第二部長篇小說,在她擅長的「異域書寫」系列中,此部小說仍承襲過去一貫的綺艷文采和玄靈情節,將故事背景架構在七百年前的吳哥王朝,虛構出神話人物「枯樹」以及一只名為「瞬」的古琴為引信,盡其妖魔鬼怪、悖情違理、濫情縱欲之能事,
展演人與蛇歡愛交媾、相互變形、彼此吞噬的詭異意象。本文試圖以榮格之原型理論分析小說中關於重生、輪迴、變形等神話母題,進一步還原蛇之原始意象加以探索,並將蛇視為一個象徵符號,藉由隱蔽、蛻皮、吞噬等本能模式,賦予人類投射其神祕、重生、回歸的慾望想像。
小說中展演人蛇交媾與繁殖的地底洞穴,在普遍原型指涉中通常為子宮之隱喻,因此遁入地洞儼然成為一種「重返母體」的儀式,隱喻萬物回歸大地之母的子宮,孕育生生不息的生命輪迴。最後作者將神話故事帶到二十一世紀歷史現場,企圖透過探險家與觀光客的夢境,為傳說找回曾經存在的訊息。然而,古琴最終被展示在博物館內,隱喻真相被供奉在知識框架中失去生命,如果朝聖和膜拜已成為回歸神話的儀式,那麼張瀛太創作現代神話故事,並試圖揭開真相回溯生命之初,其實也透露作家藉由書寫回歸內在心靈的渴望。

關鍵詞:張瀛太、古國琴人、榮格、原型理論、回歸

Abstract

An Ancient Musician is Chang Ying-Tai’s second novel. The work tells a mythical story that takes place 700 years ago in Angkor. The titular character is a musician who was born with the ability to become a snake although this ability only emerges when he has an orgasm. After which he swallows the woman who he has having sex with although he remains unconscious during the whole process. In this work, I analyze the topics of rebirth, reincarnation and transformation in the novel based on Jung’s Archetype Theory. The snake is a symbolic figure that represents rebirth and return. Furthermore, the underground cave where the musician has sex or gives birth can be related to the womb, and thus entering it is like a ritual return to the mother’s body. At the end of novel, Chang brings the story to the 21st century and reveals the true story through the dreams of an explorer and tourist. Finally, the ancient instrument is put on display in Swiss museum. It seems to imply that the truth can only be displayed within the frame of knowledge when it is dead. If people search the primary spirit by such a ritual of pilgrimage and worship, it assumes that Chang wrote a myth with the intent to make a “return path” back to her own spiritual world.

Keywords: Chang Ying-Tai, An Ancient Musician, Jung, archetype theory, return

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感官地圖,肉身廢墟:讀鍾文音《愛別離》、《慈悲情人》中的身體感知敘事

感官地圖,肉身廢墟:讀鍾文音《愛別離》、《慈悲情人》中的身體感知敘事
The Map of Sensation and the Remains of Flesh:
The Body Experience Narratives in Chung Wenyin’s novels Departing Love and Merciful Lover

李欣倫
Li Hsin-lun

摘要

鍾文音作品中的母女、物件及旅行主題,連同其書寫特質,一向是論者所關注的焦點,然筆者發現,鍾文音的敘事具有「語詞就是身體」、「肉身覆蓋肉身」之特質,大量而細膩的身體感知不僅為小說塑造氛圍、推衍故事,更有其背後指涉,因此,筆者欲以兩本看似旅行、實則直指肉身本質的長篇小說《愛別離》及《慈悲情人》為核心,藉由書中角色對物質的睇視以及旅行過程對外在世界的感受,繪製感官地圖,並透過敘事者對身體的逼視與細察,直指肉身廢墟,追索身體/生存本質。筆者以為,此種飽含身體象徵的敘事風格,扣合著書中角色(敘事者及隱含作者)對身體的高度覺察,形式與內涵一貫,成為鍾文音作品中的重要特色。

關鍵詞:鍾文音、愛別離、慈悲情人、身體感知

Abstract

The theme of the relationship between mother and daughter, the gaze of objects and travelling experiences in Chung Wenyin’s works have attracted much attention in recent years. However, the narratives of the body experiences contained in these works are one of their most remarkable traits,
and are not only used to construct the plots, but also as profound metaphors worthy of further discussion. Therefore, this paper focuses on the narratives of body experiences in Departing Love and Merciful Lover to examine how Chung Wenyin depict the characters’ attitudes towards objects and travelling experiences in these two novels. In addition, it will also explore how she has tried to seek the core values of the flesh and existence through the descriptions of body experiences. The results show that Chung Wenyin is a writer who has consciously explored body experiences and highlighted the meanings of the flesh, as illustrated by her exceptional writing.

Keywords: Chung Wenyin, Departing Love, Merciful Lover, body experience

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女人作為一種隱喻:黨外雜誌中政治性別化的民主隱喻

女人作為一種隱喻:黨外雜誌中政治性別化的民主隱喻
Women as Metaphors:
Women as Metaphors for Democracy in Dang-Wai Political Discourse

李淑君
Li, Shu-chun

摘要

本文以1975年到1986年的黨外雜誌為觀察對象,論述參與黨外運動的女性如何被再現及其意義。本文認為黨外雜誌中所呈現的黨外女性以兩大類型反覆論述:即陽剛/陰柔、反性別常規/符合性別常規、戰士型/受難型的兩種面向呈現。陽剛/反女性傳統形象的論述以呂秀
蓮、陳菊、陳婉真與蘇慶黎「四大女寇」為主。「四大女寇」原本是國民黨對黨外運動四位女性的污名,但黨外雜誌以及黨外人士挪用了「四大女寇」來稱呼呂秀蓮、陳菊、陳婉真與蘇慶黎四人,並視為一種反叛國民黨的黨外力量,其呈現陽剛性與反對力量以象徵與彰顯民主運動的反對勢力。相對的,「代夫出征」論述則符合社會規範下強調女性必須陰柔、純潔、堅忍的特質,以「悲苦的」、「受難的」、「代夫出征」的女性來象徵民主的苦難之路。陰柔特質與民主苦難結合在一起形成一種隱喻。而「代夫出征」論述轉化到「鐵娘子」與「旋風現象」則暗示了黨外力量的再生。以上論述的幾種模式,包括具備奉獻犧牲精神、強悍俠義形象的「四大女寇」、民主苦難象徵的「代夫出征」女性、形單影隻的「受刑人太太」、強硬的「鐵娘子」形象、重新站起來的「某太太」與「旋風現象」,在這些論述當中,可以看見凡是出現陽剛特質的隱喻,都指向民主力量的出現與復興;而當出現柔性、淚水與悲情等待,都是指向台灣民主運動的受挫。黨外女性被放置在民主隱喻論述的位置,或者可以進一步說,黨外女性論述所隱喻的是民主歷程的發展。黨外女性出現戰士型與受難型;陽剛與陰柔特質的兩種對照,這兩種對照所進行的是一種民主反叛、受挫與再生的表述,而這兩種論述都是對台灣民主力量的隱喻。

關鍵詞:黨外雜誌、民主、性別象徵、代夫出征、政治論述

Abstract

This thesis focuses on Dang-Wai magazines (1975-1986) and discusses representations women as metaphors of democracy in Dang-Wai political discourses. The representation of Dang-Wai women can be classified into two categories: one is masculine “women-warrior”, and the other is feminine
“female-victim”. The “women-warrior” category is a metaphor for resistance against the KMT, while the “female-victim” is metaphor for the trauma of democracy. When a “female-victim” became powerful against the KMT, they would be represented as more masculine. The masculine and feminine have a hierarchal relationship, and signify different meanings of democracy in different
positions. In short, this essay analyzes how the women in these magazines served as metaphors for democracy.

Keywords: Dang-Wai magazine, democracy, gender symbolism, wife-on-behalf-of-husband in campaign, political discourses

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冷戰下的中國想像與反共意識形態:以黃凡〈青州車站〉、《零》為例

冷戰下的中國想像與反共意識形態:以黃凡〈青州車站〉、《零》為例
Imaginary China and Anti-Communism Ideology in the Cold War Period:
A Case Study of Huang Fan’s The Station of Qingzhou and Zero

陳佳琦
Chen, Chia-chi

摘要

黃凡一般被認為是一個對政治抱以絕對懷疑論與批判立場的小說家,且是公認的台灣後現代小說重要先鋒。但在他寫作充滿懷疑論式政治小說的同時,還有跨入所謂後現代小說之前,也曾在世界的冷戰格局與國民黨的反共論述框架之下,寫出隱隱應和官方冷戰╱反共意識形態的文學作品。
本文以〈青州車站〉為例,兼而觀察七○年代占據主流媒體的反共宣傳氛圍。嘗試指出,在鄉土文學論戰之後,但戒嚴與冷戰年代的反共意識形態仍深深扎根於主流媒體與日常生活的七○年代後期,這部短篇小說如何回應官方所提供的反共宣傳素材,進一步深化其美學力道,蛻變為意識形態上與政治當權曖昧暗合且受主流文壇推崇的作品。接著,藉由比較《零》、〈戰爭最高指導原則〉和歐威爾(George Orwell)《一九八四》等作,觀察此一冷戰下的反共論述基調與黃凡後來的科幻寫作路徑的關係,探問這與他向來的政治嘲弄態度和後現代寫作的轉折,是否具有更深的聯繫。並進而質疑,這些未曾清理過的冷戰思維與反共意識,是否仍在今日影響著我們對現實的認識。

關鍵詞:黃凡、青州車站、冷戰、反共、一九八四

Abstract

Huang Fan is generally considered to be a novelist of skepticism and political criticism. He is also recognized as an important pioneer of Taiwanese postmodern fiction. However, while writing his works of political skepticism and before becoming a “postmodernist”, Huang has also written fictions that carried the ideology of the Cold War and anti-Communism, which echoed the position of the KMT.
This article attempts to study Huang Fan’s work The Station of Qingzhou, and to outline the anti-Communist propaganda of mainstream media in the 70’s. I observe how this short story aestheticized and responded to the anti-Communist propaganda materials of the ruling party during the Martial
Law period, and emphasize that anti-Communist ideology was still deeply rooted in the day-to-day life after the Nativist Literature Debate. I consider the relationship between this Cold War anti-Communist discourse and Huang Fan’s later Si-Fi works, and probe the possibility of any deeper connection between this discourse and his political satire and postmodern turn through comparing
Zero, The Highest Guiding Principle of War and George Orwell’s 1984. Finally, I keep questioning whether these residue Cold War mentalities and anti-Communist ideology are still affecting our understanding of reality today.

Keywords: Huang Fan, The Station of Qingzhou, Cold War, anti-Communism, 1984

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台灣歌仔戲中程式語言的作用:以歌仔戲「活戲」演出為例

台灣歌仔戲中程式語言的作用:以歌仔戲「活戲」演出為例
The Function of Formulaic Diction in Taiwanese Opera:
Exemplified with the Improvised Performance in Taiwanese Opera

劉南芳
Liu, Nan-fang

摘要

本文以台灣歌仔戲中「活戲」的演出為例,說明「程式語言」(formulaic diction)在口頭文學中的作用。透過演員建立「程式語言」的方式、探討這些常備片語如何在口傳戲劇中靈活的運用。
「活戲」又可稱為提綱戲、幕表戲、活詞戲⋯⋯等,台灣民間職業歌仔戲劇團至今仍保留「活戲」的演出形式。演員只憑藉一個口述的大綱就能上台演出,並沒有固定文本記錄的唱詞、對白做依據,就如同口頭詩歌的傳唱中,吟唱詩人需要記憶大量的「程式語言」幫助他們的表演,同樣的「程式語言」也成為「活戲」演員表演必備的工具。
本文敘述台灣的活戲演員建立「程式語言」的方式,包括演員必須熟練幾種基本人物的套語類型、掌握特定曲調慣用的歌詞套路、並配合不同情節的需要來活用程式語言等。由於活戲是一種帶有歌唱性質的戲劇表演,因此這些程式語言也必須考慮韻腳、以及歌詞的平仄聲調變化,還有歌詞與曲調結合的關連性。
當演員建立了自己程式語言的「詞庫」之後,面對不同的劇目、以及口頭講述的演出大綱,他就能將程式語言靈活地運用在舞台上。但是當台灣歌仔戲朝向定型書寫發展,以及新一代歌仔戲演員普遍接受過學校教育之後,常用的「程式語言」慢慢被文字記錄,也許會變為靠「書寫」而流傳,活戲表演終將會逐漸脫離「口傳」而造成本質上的改變。一如隨著社會的變遷和觀眾審美習慣的改變,歌仔戲的「活戲」演出或許不久之後也將會失傳。

關鍵詞:活戲、提綱戲、程式語言、口頭文學、套路段子

Abstract

This article will exemplify the functions of formulaic diction in oral literature by the example of the use of standardised script in the improvised performance of Taiwanese Opera. By looking at the ways the ways in which the actors established formulaic diction in their performance, this article
investigates and demonstrates the tradition of adapting formulatic diction in oral improvised theatres.
‘Improvised Act’ (Huo Xi in Chinese, meaning “living performances”) can also be called ‘summarised script’ (Tigang Xi ), ‘scenario script’ (Mubiao Xi ) or ‘improvised act’ (Huoci Xi ) , etc.. Whichever name it is called, the form of improvised performance is still largely adopted by professional Taiwanese Opera troupes. The actors improvise dialogues and flesh out actions according to a scenario that merely summarise the situations narrated to them orally. Because
the actors improvise without a fixed script, their performance is facilitated by memorising fixed formulaic diction the ways medieval troubadours replied on standardised formula in order to memorise the plot.
This article demonstrates the historical methods in which the actors of Taiwanese Operas have established their own formulaic diction: the numbers of stock characters the actors need to master, mastery of the routine lyrics for specific tunes and melodies, and the flexibility to adapt formula into differentscenarios. The adaption of formula need to factor in the intricacy of rhyming and metrical variation in lyrics, the relavency between lyrics and tunes as improvised act, in nature, is an operatic performance.
When she has fully incorperated various formulae into her own ‘vocabulary repertory’, an improvised actor can freely adapt them into different scenarios and summarised plot narrated to her orally. However creative and flexible this kind of improvised performance can be, the improvised performance is gradually on the wane as the new generation of Taiwanese Opera Troupes have now relied on fixed and printed scripts and the new generation of actors are now formally educated in schools. Along with the change of this move from the oral to the literary and printed tradition and the
change of the viewing conventions in the contemporary society, the oral form of performance may only be preserved in written records and the improvised performance will be lost soon.

Keywords: improvised act, summarised script, formulaic diction,
oral tradition, formulated acting technique

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僻徑的身影:1925年前後的黃呈聰

僻徑的身影:1925年前後的黃呈聰
The Figure on the Secluded Path: Huang Chien-Tsong’s Life after the Turning Point in 1925

鄧慧恩
Teng, Hui-en

摘要

黃呈聰被視為日治時期待機派知識分子,「中國」也被視為他的政治傾向。本文將1925年黃呈聰歸信中國真耶穌教會作為分界點,探討1925年前黃氏的著作、主張以及社會參與。黃呈聰在保甲制度、糖業、芭蕉買賣以及渡中旅券問題方面皆有著墨,著力推動中國白話文運動,也從世界的視野參酌台灣文化的特殊性,提出台灣與日本的文化應當採用「調和」而非「強制」同化的主張。而1925年後,黃氏改信中國真耶穌教會,並將這番改宗視為自己從事民族運動的一環,將民族主義內化於宗教信仰之中,不僅如此,這份信仰亦被黃氏視為拯救民族的救靈運動。
本文試圖將黃呈聰1925年後的人生與前半段銜接起來,作整體性的探討。同時,也探討與黃呈聰生命歷程緊密結合的真耶穌教會於日治時期的發展過程。

關鍵詞:黃呈聰、待機派知識分子、中國真耶穌教會

Abstract

This thesis aims to represent the attendance of social movement and religion practice from Huang Chien-Tsong’s(黃呈聰, 1886-1963)life after 1925 since we didn’t know much about it though some academic discussion had tried to figure out.
Before 1925, Huang was a son of a land owner and a promising one who had good career and won the high scale of respectability, therefore, he attended many social movements and wrote many articles about changing Taiwanese conception about political and social problems during the period of Japanese Government occupation. However, after1925, he accepted the special religion, Chinese True Jesus Church(中國真耶穌教會), he combined his political tendency, Chinese- inclination, with this religion and took the road to determine his conviction that believing Chinese True Jesus Church was also a way to carry on turning Taiwanese into a kind of soul-puring race.
I want to discuss Huang’s published articles that he wrote no matter before or after 1925 to explore his understanding about Chinese and the particular parts of Taiwanese culture and life-style. And, it’s absolutely necessary to connect these with his personal life-practice in both social movements and
religious belief when we probe into his life after focusing on his achievements and works.

Keywords: Huang Chien-Tsong(黃呈聰), waiting-for- chances, intellectuals(待機派知識分子), Chinese True Jesus, Church(中國真耶穌教會), the period of Japanese occupation,
Chinese- inclination

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